Jessica Jones-A-Thon: AKA Crush Syndrome

After unwittingly helping to orchestrate a tragedy, Jessica Jones tries to find out why Kilgrave is back.

A lot of people talk about there being no point to women or people of color as directors, though considering that the first two episodes were directed by a woman, S.J. Clarkson, I think that they show a certain pov that a male director might have missed.

And the title, AKA Crush Syndrome?  Not at all what you’d think, especially based upon Kilgrave’s capabilities.

And speaking of Kilgrave, we see him for the first time, sort of (from just about every angle except face-on) this episode and see not only those that he fallen in his wake, but people that he actively manipulates.

He’s also a dick to small children, which is important because it tells you in a roundabout way about Kilgrave’s childhood.

Now You See Me 2 – Official Trailer 1

I actually enjoyed the original Now You See Me, despite that the story made no sense–in the world of the movie magic either really existed, a notion the very same movie spends most of running time debunking, or Mark Ruffalo’s Dylan Rhodes was a serial killer of magicians (a really odd niche to be sure, but if history has taught us anything it’s that serial killers are a particularly fickle bunch).

Though I imagine that if there was anyone that could show them a thing or two about magic it would be Harry Potter (Daniel Radcliffe).

Directed this time around John M. Chu, who replaces Louis Leterrier, it will hopefully do better than  Jem and the Holograms.

Postmortem: The Thing (2011)

With John Carpenter’s The Thing–based on Christian Nyby’s 1951 movie The Thing From Another World and the original John Campbell short novel, Who Goes There?–we got to see a director at the peak of his powers.  Carpenter was able to combine Rob Bottin’s extraordinary creature effects with a taut story of an otherworldly threat that had the ability to mimic whomever it killed.

So you can imagine that when Universal Pictures decided to do a sequel in 2011–without Carpenter’s input–that fans would probably not be too keen on it.

And that’s a bit of an understatement, with many–myself included–hating the movie on general principal.

Having recently re-watched Matthijs van Heijningen’s prequel, it’s actually pretty good.  And while I wished that it had more in the way of practical effects–though as far as I can tell the CGI is based on designs from Alec Gillis and Bob Woodruff (who are credited) and while it’s not as innovative as the practical special effects of Rob Bottin, They’re okay.

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Warcraft: The Beginning – Teaser Trailer

i honestly don’t think that they should have went the teaser trailer route with Duncan Jones’ upcoming Warcraft: The Beginning.

If you’re Star Wars: The Force Awakens, Captain America: Civil War, or Batman v Superman: Dawn of Justice, you can have a teaser trailer.

When you’re talking about a property that most people aren’t even aware of, then not so much.

And seriously, if you replaced scenes in the teaser with images from any of the Lord of the Rings movies, would anyone honestly notice any difference?

Sadly, i’d have to say No.

Supposedly Universal–Legendary’s production partner–wasn’t too enthused about the movie, and while I have no idea why that is, after such a relatively bland teaser, I’d be a mite concerned too.

The trailer for Spike Lee’s Chi-Raq also dropped today, and also happens to be much more interesting.

Will Warcraft Conquer Legendary’s Box Office Doldrums?

WarcraftLegendary, despite a somewhat acrimonious split from production partner Warner Bros, has been trying to make a go of it with Universal Pictures.

This new partnership has been an uneven one–with recent titles like Straight Outta Compton and Jurassic World doing massive box office, while Crimson Peak has so far underperformed with a total cume of $62 million on a $55 million budget–and Steve Jobs appears to flat-lining with a take of $14 million (luckily it’s relatively cheap at $30 million).

The worse hit they have suffered has been Michael Mann’s cyber-terrorist thriller, Blackhat (earning almost $18 million on a $70 million budget).

Though I get the feeling that they may be another sore spot, and that’s Warcraft, based on the Blizzard Entertainment video game of the same name.  While the budget isn’t currently known, it’s been estimated higher than $100 million, a not prohibitively expensive amount as far as these movies go, but hardly inexpensive.

As far as I can tell, it’s greatest problem is one of name recognition.  Who’s heard of Warcraft beyond gamers, a group not large enough to put a movie into the black.  It doesn’t have the broad and deep support of a Harry Potter or Lord Of The Rings so if the movie’s to be a success it has to reach beyond its current fanbase into uncharted territory.

The feature is being directed by Duncan Jones, who was in demand coming off Moon and Source Code.  The thing is the budget of both of those features isn’t half the budget of Warcraft, which isn’t to imply that he can’t do well (after all Colin Trevorrow had never worked on anything as large as Jurassic World, and he knocked that out of the park) but stakes rise exponentially with the increase in cost.

Then there’s the most important thing, namely that when people are talking about upcoming movies that they want to see, it’s usually in reference to Star Wars: The Force Awakens or even Fantastic Beasts And Where To Find Them, and not Warcraft–which is supposed to release a trailer this Friday–which Legendary hopes to change.

Can We Can The (Seemingly) Fake Diversity Talking Points Already?

David GoyerI am all for diversity, whether we’re talking about movies or just about anything else (especially policing, which is another discussion) but I get a bit tired of the people that have the ability to make a difference, and don’t, complaining about its absence.

For instance, David Goyer, the writer of screenplays for Christopher Nolan’s Batman trilogy (Batman BeginsThe Dark Knight, The Dark Night Rises, recently said in a recent interview that he wished that Hollywood would hire more women and people of color.

Seriously?  The problem with that is that statement is that people like David Goyer ARE Hollywood.  Keep in mind that this is the same guy that recently created DaVinci’s Demons, a series loosely based on the life of Renaissance man Leonardo DaVinci.

Now, I’ll be the first to admit that I haven’t seen the series, but if that’s how he feels, why not hire–I don’t know–women and people of color to direct (it’s entirely possible he’s done just that, but if that were the case for some reason I suspect that he wouldn’t be quite so reticent about discussing it) as well as work on the crew?

I also have no idea about how Kurt Sutter (the creator of Sons of Anarchy and The Bastard Executioner) feels about such things, but considering that Paris Barclay directed more episodes of Anarchy than any other director (and who happens to be black) I get the feeling that his track record on such things is probably pretty good–which isn’t to imply any sort of perfection.  Women and people of color and do any task that a movie requires.

Back to Goyer.  Looking at the credits for DaVinci’s Demons, there appears to be no female directors or–if the names are any indication, since pictures don’t accompany every IMDB entry–directors of color.  As far as the show’s writing staff goes, things are a slightly better for women, with six out of twenty being female.

David Goyer apparently cares about diversity, and making use of the talents and the perspectives that only women and people of color can provide.

And that’s admirable, though the next step is to actually hire them, which is where ‘diversity’ really comes into play.

Guillermo del Toro Can’t Catch A Break

Let’s be clear, Guillermo del Toro doesn’t need my sympathy because I imagine he’s quite content making some of the most innovative genre movies in recent memory.

That being said, he also can’t seem to catch a break.  His latest, the Gothic Romance Crimson Peak, has currently earned almost $28 million worldwide, after four days.

That’s not a long time, you might be thinking, and you’d be right though the problem is that del Toro’s movie is rated R, which means that no one under seventeen can see the movie without a parent or guardian (which limits your argument pool significantly, as if the fact you’re making a gothic romance didn’t do that already).

Which is the exact opposite of a movie like Goosebumps, which is PG and has earned almost double that amount domestically.

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